Spectralion

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This is basically the main issue, or that's how I see it. Artists within a genre follow a manual that makes them part of that genre and there are plenty of bands who don't do anything outside of that manual. That's either because they don't want to (mostly those that don't feel like stepping out of their comfort zone), they're being restricted by their label, or they simply don't have the musical qualities for it.
 
I personally don't mind if bands don't take that step. I agree with Bear however, that you're going to have to stand out, and you can't do that if you blindly follow a manual over and over again. That's what I deem "generic", in this case. It's a well-loathed term, but for me it equals bands that don't work outside a certain framework, yet a framework that is also used by a lot of other artists. That doesn't mean however that the experimentation that a band does outside of said framework will always be succesful. It can be a huge trainwreck and in that case you sometimes wish they had stayed INSIDE of the framework, lol. However, when a band plays outside of a certain framework and does it well, that's when I would say that yes, different does equal good, but only in that case. Sometimes the framework itself is enough too, but that depends on each individual's taste.

Congratulations! You have realized how shallow the depths of visual-kei is. Now feel free to look beyond the lake that is visual kei and move into the ocean of alternative J-music.
[/sarcasm]
But in all honesty, the reason why we split the download forums into two is precisely because of users like you - people that tire of visual kei music but not necessarily Japanese music and are looking for a bit more. Don't limit yourself because of labels or phenomena or "omg what would zess think!?!?!". If you don't like visual kei anymore, look elsewhere. I guarantee you there's plenty of music in Japan alone to keep you occupied.

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Here are the results from last year's Best of 2013 list. We probably won't be doing one this year due to low voter turnout. In some fields there weren't enough votes to even elect a winner.
best vk artist (top 3): DIV, UNiTE, Nocturnal Bloodlust
best overall artist non vk (top 3): The Novembers, Wakusei Abnormal, ONE OK ROCK
best album (vk) (top 3):
DIV - ZERO ONE
ALSDEAD - Separator
Luna Sea - A Will
best album (non vk):
THE NOVEMBERS - zeitgeist
best single/maxi(vk):
ユナイト (UNiTE) - 美空結び
DIAURA - SIRIUS/Lily
Golden Kinema gekijou by DIV
best single/maxi (non vk): no winner
best pv:
Louis 〜艶血のラヴィアンローズ〜
Heartless Classic Memory (ハートレス クラシックメモリー)by UNiTE
Best Newcomer:
宇宙コンビニ (uchuu konbini)
Kameleo
Saddest disbandment: A
Most disappointing release: The GazettE - BEAUTIFUL DEFORMITY
What the Hell were they thinking!?-award: The GazettE - BEAUTIFUL DEFORMITY
Most anticipated release of 2013: The GazettE - BEAUTIFUL DEFORMITY
Best non-japanese release: no winner

Didn't use enough of that CRaZY*ShaMPoO to wash off the dad aroma 

Charisma.com
 

 
 

 
I can't believe there wasn't an artist thread for these two flawless ladies yet. I personally feel like they're one of the strongest artists in J-pop at the moment and DIStopping is most probably the best pop album I've heard all year. Any more of you who enjoy them?

The longer preview
 

 
Oh, they're adorable...

The longer preview
 

 
Oh, they're adorable...

was expecting UTADA ROXXX — VK nobodies covering utada hikaru for a single-time media presence chance — (feat. Nao of kaggra, and Aoi from ayabie)

Multiple choice poll. Who's your favorite J-rock "ojisan"?
 


 
 
 
 
If you have any suggestions for the Poll of the Week, just pm me with the poll question and the possible choices!

DIV new album "SECRET" will be released at 2015/02/25, although details have not yet been announced.
 
DIV's new Look!

http://www.jpopsuki.tv/video/D---Shuuen-~Sora-e-no-Kaiki~/6c11a8f4026806b59a739f19334efbf5
 
Full PV for "Shuuen".

Artist: THE NOVEMBERS         Album: Rhapsody in beauty         Score:         Fifth time's a charm, right?
With five albums and a number of EPs under their belt, THE NOVEMBERS have had a hand in the Japanese indie scene for years. Their first EP was released in 2007, but I didn't take the time to listen to them until their third EP, GIFT, in 2012. With no disrespect to their beginnings, they started off as a better-than-average band playing good ol' angular indie rock. They've since evolved into so much more, adopting heavy shoegaze influences. Their most recent releases exhibit a louder, darker sound. So what does their fifth album Rhapsody in beauty have in store?

The album kicks off with the noisy intro 救世なき巣 (or Xenakis as it's known on the English version of the tracklist). The instrumental features a dense concoction of airy synths and layers of atmospheric distortion. It begins in a chaotic and foreboding manner, but then slowly develops into something blissful. I find myself zoning out to the second half with its euphoric heaviness. It clocks in at almost six minutes, so impatient listeners might find themselves reaching for the skip button. Next up, Sturm und Drang opens with a bang, or rather a shriek. The title, a reference to the German literary period characterized by passion and an outpouring of emotion, is spot-on. The energetic punk riffs, screams, and distortion-filled outbursts conjure up the notion of "Storm and Stress." Due to the repetitive notes in the first half of the track and Yusuke's extremely distant, unintelligible vocals, this track reads like an interlude. Considering it just followed a lengthy instrumental opener, the structure of the album is off to a perplexing start.

You could say the album gets underway with Xeno and Blood Music.1985. Both songs continue the darker, alternative sound the band began to explore on their previous two releases, Fourth wall and zeitgeist. Expect hi-octane riffs, crashing drums, and powerful, fuzzy bass. Without being predictable, these two choruses have a signature flow that instantly let you know "This is a NOVEMBERS" track. But the best vocal work is yet to come. tu m'(Parallel Ver,) slows things down for a ballad with a hypnotic guitar loop. If you're wondering what "Parallel Ver," refers to, this song is a rerecording from the band's second album Misstopia. This version is noticeably slower than the 2010 one, which in retrospect sounds rushed. This new rendition sounds the way the song was meant to be. The following title track is a rockier approach to the calmer sound just presented. Built around the siren-like guitar riff that repeats throughout the track, Rhapsody in beauty is a dreamy romp into sublime shoegaze territory. Yusuke's vocals simultaneously tread the line between effortless ennui and ecstasy. 236745981 guides you back to the gloomy dark side. About two-thirds through the song, all the distortion is lifted and the song begins to sound like a classic Strokes song! The change is abrupt, but both sections are enjoyable. It's up to you to decide whether the track was patched together convincingly enough. dumb provides one final helping of brooding NOVEMBERS goodness. A deliberate beat and mysterious synths establish a melancholy mood and to top it off, Yusuke shows off a selection of vocal styles: chanting, soaring falsettos, and his gruff scream.

Romancé begins the last leg of the album. A short percussive intro leads into a section of feathery soft synths and jangly guitar riffs. So begins my favorite album track and one of my favorite NOVEMBERS tracks, period; I'm not sure anything will top Reunion with Marr from GIFT, but this is a damn good attempt. The intro reminds me of something defunct dream pop band Hotel Mexico might have done. But it would be unfair to compare Yusuke to Hotel Mexico's vocalist. Beyond the rich vocals and beautiful harmonies in the second half of the song, everything is in place on Romancé from the breathy synths to the tight basslines and, dare I say, perfect guitar. Sit back, close your eyes, and relax. Heaven must sound something like this. This gentle beast of an album closes with 僕らはなんだったんだろう (Bokurawa Nandattan Darou), a gorgeous acoustic ballad. Despite its length, the song never overstays its welcome. Slowly, the song unfolds in front you. Yusuke delivers an emotional and delicate performance. Matching that, the sole guitar doesn't hide behind any production tricks. You can hear every single strum and twang of the guitar strings. Track two might represent the more violent, visceral side of Sturm und Drang, but this track represents the counterpoint; it's equally as emotional, albeit in a different way.

Although the best NOVEMBERS release remains GIFT for me, I do tend to prefer their softer, dreamier side. Having said that, Rhapsody in beauty is my favorite album of theirs. It's more memorable and varied than zeitgeist and more consistent than any of their pre-2011 material. I could listen to Yusuke's vocals all day long and this album is further confirmation that he is one of the freshest and most versatile voices in the Japanese indie scene right now. While not without its minor structural flaws, this is a hell of an album, sure to make appearances on many a Monochromium's Album of the Year list. Whether you'd rather float aimlessly through the clouds with Romancé or fuck shit up to the tune of Blood Music.1985, THE NOVEMBERS have you covered. Anyone with even a marginal interest in Japanese indie rock/alternative/shoegaze owes it to themself to check out THE NOVEMBERS' Rhapsody of beauty. You'll be glad you did!

What did you think about the album?

Been over L'arc~en~Ciel for years now. Glad they're finally over themselves too

I am taking the freedom to revive this thread, though with a more specific question (or more of a personal thought I want to share). I have been thinking the last days a lot about the connection and possible influence of japanese popculture, especially manga and anime, and Visual kei.
Now we surely have all come in contact with a lot of foreign "journalists" who branded Visual kei as some kind of real life version of Manga characters. I am sure we all can disagree with them at first though it's understandable that they come to that conclusion as many VK hairstyles seem to be borrowed right from a shonen manga. But maybe that assumption isn't even that far off. So comes my question: did Mangas and Animes have had an influence on Visual kei? And how big is it? Are VK bands the real life versions of a shojo manga reading girl's wet dreams?
It's certain that Visual kei music and bands had influence over Manga artists so it seems more logical that the type of leather wearing bishonen with long or crazy styled hair are the result of manga artists stanning for their favourite musicians and vocalists. See Kaori Yuki who is probably most well known for having integrated typical VK fashion into her Mangas (especially Angel Sanctuary, which is filled with VK guys). I remember people pointing out that some of her characters are even based on real VK bandmember, such as Hyde (L'arc~en~Ciel)
What I found very interesting (and a nice look into early 90s VK history) was the connection between VK and Shojo mangas. In 1989 Manga-ka Kusumoto Maki started to work on the shojo manga Kissxxx. The story is about the love between the singer Kanon and the sister of his bands' bassist. Kanon is the vocal of a punk band called "Die Küsse" (which may ring a bell). Maki was apparently inspired by local punk, post-punk and wave bands and bases the look of Kanon on those. At the same time Visual kei was taking influences from these genres as well. I am not sure if Visual rock already existed as a word at that time, but Kanon can still be seen as your prototypical VK guy.
According to comments surrounding the manga Kissxxx had a huge influence on VK (and not the other way round it seems). It may be oldest record of the phrase "Eins, Zwei, Drei, Vier" to appear in connection with VK. I don't think it has started to be become a ctachphrase in VK until 1990 at least. (but someone can proof me wrong anytime)

In the early 90s Penicllin have made a song and video about the manga, featuring Hakuei as Kanon (and replaying some of the key scenes of the manga. Also all outfits are based on the original character's clothes)


Then there was a 90s VK band called DIE KUSSE. Mejibray named a song after the fictional band too, but according to Tsuzuku the song isn't directly connected to the manga (but the line "eins, zwei, drei, vier" is referenced and according to the same interview about the single Meto aimed for the punk look because Kanon was in a punk band). I am sure there are many more groups referencing the story or taking inspiration from it. Kusumoto Maki also did a illustration for the cover of Vk band's Gilles de Rais album 殺意. And I think Deshabillz borrowed a picture from an eye (in one of the chapter pages) from the manga for a cover of their tape.
So yeah… maybe that does add a bit to the whole 90s Vk history and where it got it's influences. It would be cool if someone was able to translate really old magazine articles as this would help "recovering" some of it's history. I find it strange how no one has ever mentioned the influence of manga in such a discussion though.

Artist: 陰陽座 Album: 風神界逅 (Fuujin-Kaikou) and 雷神創世(Raijin-Sousei) Score: I need new pants.
What band could possibly release a double concept album that eclipses their magnum opus? This band.

It may have taken them three years, but 風神界逅(fuujinkaikou) and 雷神創世(raijinsousei) are a monolithic compendium of Onmyouza's self branded youkai heavy metal. Translating to "Fuujin Against the Realms" and "Genesis of Raijin", respectively, these two albums together weave a saga about a war between the gods of wind and lightning. 風神界逅 is the more accessible of the two despite a bit of atmospheric self-indulgence, and is where the concept starts proper. Opener 風神(fuujin) sets a light, brisk pace with wood instruments which builds up into a small orchestra over two and a half minutes. A low rumble resembling thunder from the drummer tops everything off, lending a complexity unexpected of an instrumental introduction, and paves the way for the next few tracks.

Saying that 風神界逅 dominates from this point on is an understatement. Temper your expectations for aggressive metal and in turn be rewarded with the most creative rock music this band has ever written. Every single song is amazing. Tracks that kick serious ass are littered throughout 風神界逅, starting with 神風(kamikaze). A by-the-book melodic heavy metal number that cements the tone for the first half of the album, what it lacks in wow factor it makes up for in consistency. For the uninitiated, this is the first introduction to the sonic angel Kuroneko, the operatic, emotive front woman who nails every note from beginning to end. Her expressive vocals take center stage on every song she's in across both albums and shares singing duties with bassist Matatabi more than ever.

故に其の疾きこと風の如く(yue ni sono toki koto kaze no gotoku), 然れど偽りの送り火(saredo itsuwari no okuribi), and 飆(tsumujikaze) are just as aggressive as 神風 with impressive solos that push the album forward and maintain momentum. 一目連(ichimokuren) is notable for Kuroneko's enka performance, which adds a nice traditional touch and is a treat to hear her use. 無風忍法帖(mufuu ninpouchou) differentiates itself as the purest example of Onmyo's rock and roll spirit. The result of a band comfortable enough with themselves to experiment and have fun, it grooves hard despite breaking immersion. However, the album doesn't solidify it's position as one of the top releases of the year until it hits its climax at 八百比丘尼(yaobikuni). An eight minute progressive behemoth, few words exist to describe how beautiful this track is. A masterpiece that obliterates everything that comes before and after it, 八百比丘尼 starts with a tone suggestive enough to summon spirits and a distorted, hypnotic electric guitar which provides the barest of main melodies. Slow, deliberate buildup comprises the first three minutes, with elements weaving in and out repeated and rephrased as Kuroneko grips your attention for the entire song. Starting strong and improving as the song goes along, it picks up pace with the solo three minutes in. From there, the song starts taking shape, culminating in a second, more technical solo and an explosion of piano, violin, and multiple guitars at the apex. The song comes down from it's climax the same way it started, with the immediacy of the first few minutes replaced by confident resolution. If you listen to nothing else from this album, listen to this.

There is no lack of slower, more introspective moments on the album either. Ballad 雲は龍に舞い、風は鳳に歌う(kumo wa ryuu ni mai kaze wa tori ni utau) soars into the stratosphere while Kuroneko puts her opera training to good use. As far as the slower tracks go, this is at the top. Likewise, mid-tempo number 蛇蠱(hebimiko) follows 一目連 with pulsating bass, generous accompaniment, and a mesmerizing chorus that sounds like it came from a spell-book. Very reminiscent of 金剛九尾 era tracks, it surpasses them because it doesn't meander in it's own atmosphere. The album ends on an upbeat pop note with 春爛漫に式の舞う也(haruranman ni shiki no mau nari). It's almost become a tradition to end albums with the most accessible track of them all. If the depth, complexity, or traditional Japanese influence of earlier tracks weren't to your tastes, give this song a spin. It's at odds with everything else on the album, but fits in nonetheless.

If my glowing impressions of 風神界逅 were enough to get you curious, then it's time to blow your mind. 雷神創世 is the better album out of the two. It will go over much better with those desiring a more metal-oriented sound. Consistency is this album's strongest point. Every song uses the same batch of ideas, but Onmyouza synthesizes them in such a way such that they all are distinct and complement each other nicely. Contrast the ominous, brooding opener 雷神(raijin) with rocker 而して動くこと雷霆の如し(shikoushite ugoku koto raitei no gotoshi). The former ensnares the listener with weaving a thick Asian melody backed by hollow drums to produce an atmosphere that demands your attention. The latter has a guitar driven melody with a piano introduction and a notable guitar solo. Both songs feel like they're cut from the same cloth, yet they're on opposite ends of the album. This speaks to the amazing execution of the concept behind this album.

There isn't a moment on 雷神創世 where the music isn't charging ahead at full speed. Songs may feature the occasional slow melody break, but every song is as metal as this band gets. The party starts with the second track 天獄の厳霊(tengoku no ikaduchi), and from there it only gets better! The only snag is 人首丸(hitokabemaru). It's the first time Matatabi has done an entire song with only harsh vocals and no assistance of Kuroneko. He alone cannot capture the dynamic vocal range I've come to expect from Kuroneko, and some dimensionality in the music is missing. Not that 人首丸 is a bad track - it's just that every other track is better.

雷神創世 is the spiritual successor to 魔王戴天(Maoutaiten), and an alternative take on the sound scape explored by 2011's 鬼子母神(Kishibojin). Even the thirteen minute epic 累(kasane) - while not as impressive as 八百比丘尼 - weaves a tale so epic you can feel the emotion without needing to understand the lyrics. Kuroneko's trademark sinister laughter makes an appearance too! Standout tracks of 雷神創世 include 夜歩き骨牡丹(yoaruki kawarabotan), which sounds like a new take on an early Onmyouza sound, previously released single 青天の三日月(seiten no mikaduki), and ending track 雷舞(raibu). 雷舞 is the most straightforward, rock-and-roll album finisher from Onmyouza ever. Both Matatabi and Kuroneko duet the entire time with with an amazing amount of energy, and do a great job of engaging the listener right up to the very end. This is impressive when the album borders on two hours of content.

雷神創世 may be a notch above 風神界逅, but both take the spot as Onmyouza's best albums to date and get better with every listen. I have no idea what direction they will go after this and I have no idea how long it will take them to get there, but I'm ready anticipating something big. Onmyouza have made it clear that they are not done yet. Successfully pulling off a double concept album with only one song that was less than amazing, this is something every lover of metal, rock, operatic female vocals, or Japanese culture and music should listen to. In a year full of amazing music, these two albums sit at the top.

I'm nostalgically attached to NIL, but my taste appreciates DIM more. But both albums have their pros and cons, and are still strong releases in the band's discography.
 
NIL feels a bit more organic overall since it's not constrained to a specific aesthetic like DIM - basically, there's more variety. DIM on the hand seems to have a clear-cut vision (from the highly stylized PVs, to the artwork, to the incessant use of SE tracks in an attempt to guide you through that vision), and as such, the songs on the album don't step too far out of line from that vision. They managed to achieve an amazing sense of cohesion with DIM - almost as if the album tells a story. Personally, I think that ambiguous, yet palpable "story" of DIM is what draws listeners to this album over NIL - which I think was also a good effort, but feels more just like "another VK album", ya know?
 
That's not to say NIL isn't worthwhile. With the atmosphere of DIM being so thick, it's easy for that album to feel oppressive, while NIL has a kind of levity permeating throughout it. Another thing I enjoy about NIL is the fact that there are more solos and much more going on guitar-wise, while DIM is riddled with breakdowns and mirrored-chugging (which gets old fast especially when there are 2 guitarists). The guys of gazette may not be super-technical guitar/drum-gods, but they can rock out with their instruments when they want to and I would have liked to hear more of that in DIM. In that sense, many of the songs on DIM felt a bit sterile. Tracks like "13STAIRS[-]1" and "Nakigahara" - while great, presented a slew of musical opportunities for the gazette that they failed to capitalize on. "Nakigahara" was begging for a solo or some sort of instrumental fuckery, but instead drug on for like 3 minutes too long. "13STAIRS[-]1" was something new and fresh for the gazette, and still stands out in their discography today, so they really could have experimented a bit more if they wanted to. And the gazette doesn't have to get all progressive or anything - even if one song on DIM had an instrumental section on it like NIL's "baretta", I would have been more satisfied!
 
But with everything said, I still prefer DIM overall. Despite it's flaws, the album and everything surrounding it were curated so fantastically, and that's not always an easy feat achieve - in vk or anywhere else.

12012's supposed last release (before this "indefinite hiatus" that seems more like a marketing gimmick than anything) is here. How is it? How does it compare to their recent efforts of THE SWAN and other ventures into metal that can only be described as "Whatever Dir en grey's doing, let's attempt the same"? Well, for one thing, this sure as hell isn't Sadie. Good thing? Bad thing? Let's go through the tracklist and find out:
 
 
1. Vicious of Absolution - First, let me say that if this album were to be judged on its song titles, it would have gotten a 0/10 from the start. "Vicious of Absolution"? "Story of a Different Dimension?" and the cringe-worthy, yet aptly titled "Alone"? Really? Well...now that's out of my system: The mini-album starts with "Vicious of Absolution" which is mostly a ballad that, even in the face of variation of some of the music and instruments displayed, acts in true generic ballad form. The bridge and chorus are the selling points of this song, and they aren't ashamed to show this. Well, they should have been as that hinders anything else that the song had going for it in the first place. A poor opener; but a good way to lay the groundwork for what else is in store.
 
2. Story of a Different Dimension - Another terrible title with one of the best intros 12012 has ever done. Holy shit, wait...this might be one of the better things they've ever done in this truly spotty "heavy" phase they've been going in and out of for the past few years. This isn't just some shitty and stereotypical diminished scale run (though that comes later), and in that moment I was able to let out a deep breath -- this may start getting better than expected. Just when I thought I couldn't be more surprised, there's a measure that features a descending chromatic line to bridge sections -- did they really just do that? Ok, this is starting to turn out pre-- I started praising this a bit too quickly. After the formulaic catchy chorus, there is a variation in the guitar line of the verse (this song is actually going somewhere!); but suddenly the song ends exactly how it started. How did they fuck that up? How did 12012 take one of the best things they have ever done (better than that riff in Deadly Circus which was legit) and go NOWHERE with it? At the end the track feels like it went nowhere even with the amount of effort clearly put into the rest of the song. Well...things are starting to look like true 12012 form now.
 
3. The Red - Wow! Dimished scales! Chugging from the guitars! Ok, I'm being sarcastic. This, just like every poor attempt by Dir en grey, is 12012 trying really hard to sound as heavy as possible; but only drawing on things done 100x over by Dir en grey alone (and done throughout extreme metal conventions) to set themselves apart. There's even some half-step trills in the beginning that sound like they want to be badass SOOOO BADLY when it just comes off as a musical joke. Drawing on metal conventions and doing nothing with it has been the curse of Sadie, and even when 12012 are at their strongest there are hints of that inability to truly distinguish themselves in a given genre / style that has made Sadie the joke they are today. In the bridge there is a developmental section of the opening riff but it doesn't do a whole lot with it. Just slides down the scale a few steps and back up with tremolo picking as if that is some revelatory moment in the song that is supposed to surprise us. At this point, with tiny changes being shaped in the verses, I'm tired of these shitty choruses. I used to long for 12012 choruses; but in this song I am interested in everything BUT it -- why? One needs to go through their entire discography and listen to every chorus to find out why. Again, even when it's not a ballad, the Chorus is emphasized so much when that is the last musically interesting aspect of the song. Suddenly, the Verse stops changing and results in just being another throwaway section to close the song out.
 
4. Alone - Another ballad. There's not much to say aside from summing up my thoughts on the first track. Everything is there in the ballad that you'd expect.
 
5. Aqua -- Here it is, the big finish to (possibly) 12012's last release. And what a surprise that it's just over 9 minutes long....this, for everyone, should have been the first red flag. 12012 doing a song longer than 5 minutes? No thanks; but I kept my hopes up because for the most part, though largely mediocre, the leaps 12012 have made since The Swan have been pretty significant. Well...this will go down as one of the worst attempts by 12012 at a long track, one of the worst closers by 12012, and one of the worst songs on an album in recent memory.
 
"Isn't that a little harsh, though? One of the worst songs on an album in recent memory. Surely you can't be--"
 
No, it's as bad as I make it out to be. With a piano intro and a slow build, we are assaulted with not only a painfully formulaic ballad; but one that -- get this -- DOESN'T CHANGE KEYS FOR THE ENTIRE 9 MINUTES AND 17 SECONDS. WHAT. THE. HELL. In B major with only glimpses at the beginning of a change (in the first 10 seconds), this song goes literally nowhere for over 9 minutes. Repeated chorus over and over again, piano sections, and a painfully slow fade-out that reduces this mini-album to a whimper which is the essence of what's wrong with this release. Truly, this is the only track that is genuinely BAD. You have your typical moments where the band hits the iii and vi chords for that SUPER EMOTIONAL moment, the solo that sounds like it's ripped from a poor tablature of November Rain (not the good solo at the end, I would never expect 12012 to do anything like that), and a progression that sputters over and over worse than one of the worst performances of a Grateful Dead song (when Garcia was nodding off on Heroin stage left), this song is the epitome of what not to do when given the opportunity to write a 10 minute song. Where's the development? The recapitulation? Coda...? Where is ANYTHING that would make this an interesting composition? It's absent, and something that left such a bad taste in my mouth that I had to reassess my experience of the mini-album because of it.
 
 
Overall: The first few tracks though largely straight forward and typical 12012 (great ideas, poor execution), there are many moments where I was amazed. I was stunned at what 12012 was able to do given this is their last shot; but this was all for nothing when "Aqua" shows up at the end in all of its 9 minutes and 17 seconds of glory. Aqua is bad, it's horrendous, and sadly ruins the albums finish. This mini-album had SO MUCH going for it; but all hope was lost. At least this isn't Sadie who, given this material, probably would have said "hey, that chromatic line is a bit too harsh on my tender ears. Can we change that to a I-IV-V progression? What's that? We've already done that? Well...can we do it again? OK, let's do it".
 
Moments of genius and a level of growth they have been missing their entire careers; but ultimately bogged down with lazy writing at times, and one of the worst songs I've heard in a long time. At least this isn't Sadie. At least this isn't "GANGSTA"
 
 
5/10

Snow and ice are the perfect vehicles for cheesiness. Looking forward to the PV.